Tessa B. Dick is appearing on Hyperspace with Solaris BlueRaven. 9:00 pm Pacific, 12:00 am Eastern.
By clicking the image you will be directed to the stream. Or:
Listen on your telephone: 667-930-9879
Hot Line: 702-425-9230
Could it be possible that Christmas is simply Christmas?
On the matter of Plato’s “paleo-technocratic” politics, the Republic is appropriately (and characteristically) ambiguous. With Plato it is always important to keep context in mind, and in respect to the Republic the purpose of the dialogue is to define “Justice.” Approached from this angle, Plato’s “utopian” vision clearly shows that moral and political philosophies predicated on the criterion of Justice will lead to an insufferable dystopia, with all the gory details amply dilated upon in Plato’s descriptions.
In Laws, however, Plato is not ambiguous. Clearly, the fellow comes across as a totalitarian, tyranny-mongering aristocrat. In view of the unstable world he lived in, however, maybe he has a point. And that is certainly how German political philosophers like Leo Strauss view totalitarianism; that is, they believe upon “scientific” grounds that totalitarianism is a desirable state of affairs. One would think that after finding in America salvation from the Nazis, Strauss should have embraced the land of Jefferson... Does it over-simplify the matter to assert that Strauss is “just another ogre” from the Continent who reviles English freedoms, who loathes the middle-classes, who detests Christianity, who views religious Judaism with painful contempt, and so on? Strauss notwithstanding, many contemporary “schoolteachers” championing Plato's authoritarian views evidently embrace such prejudices. Considering their influence on impressionable students, compare the Erl-King from Goethe’s poem who carries off children…
Meanwhile, rather than “Justice”, Plato elsewhere advocates eudemonia (or “happiness”) as the criterion for ethics and political philosophy. Clearly, in this mater Plato agrees with Aristotle. But there is an important distinction. Plato argues for eudemonia in the next life, in Eternity; this world and the meager “good things” of this life are to be eschewed. On the other hand, Aristotle argues for eudemonia in this life as well as the next. Aristotle agrees with Plato, however, in stating that the ultimate purpose of happiness in this life is to contemplate God (see HERE for a discussion by Anthony Kenny).
As a matter of political philosophy, their disagreement patterns the contrasting views of an aristocrat (Plato) and an upper-middle-class highbrow (Aristotle). In theory, the distinction attends their disagreements over Plato’s theory of forms (please see HERE). More importantly, Aristotle employs the criterion of eudemonia to argue for a large middle-class (see HERE for a brief quote). Rather than utilitarian grounds (though as a matter of outcomes he satisfies these requirements), Aristotle seats his concept of eudemonia in something comparing to Plato’s emphasis on coming into contact with God, with philosophical understanding serving as the gateway to such contact.
upon Aristotle’s example, eudemonia is politically (and Platonically) “writ
large” in Locke and Jefferson. Again, see HERE for Anthony Kenny on Aristotle’s
elsewhere has difficulty equating Aristotle’s eudemonia with our English word "happiness”,
but of course we must keep in mind that Kenny is no Lockean or Jeffersonian. Locke
for him is an historical matter. But
more to the point: Kenny is an Englishman and the English don’t expect to be “happy.”
Ahem. But of course eudemonia is embedded—and forcefully—in the American
Declaration of Independence, and that concept of Happiness, via Locke,
Aquinas, Christianity and Judaism, compares precisely with Aristotle’s vision, and wonderfully so.
In English Departments amongst the literary criticism people (not the "critical theory" people, but the history of literary criticism people), there are some reservations concerning our colleagues engaged in “Author Studies”. Their conversations, though generally interesting, often depress to matters of ephemera; eg. “What did D. H. Lawrence have for breakfast on the morning of September 13, 1913?”, etc.
Is it possible that instituting Wittgenstein in a similar project of “Philosopher Studies” is distracting students and scholars from the more “appropriate”, “competent” and “fluent” application of his ideas to institutional and cultural questions that (after 2500 years of this business) are properly the material of philosophical inquiry? The “meaning” of Wittgenstein himself suggests this emphasis is in the order of things.
In tangent to this question, I might suggest Peter Hacker's three volume study of Human Nature is pushing philosophy in the direction of anthropology, and properly so; just as Anthony Kenny is indicating that many “philosophical” questions are rather historical phenomena, and are most profitably addressed through that kind of understanding.
After all, if we are to take Wittgenstein at his word and conceive of philosophical questions as specimens of credulity rooted in the misapprehension of language, then we might have a “duty” to look at the institutions which are harboring these kinds of credulous languages.
In fine, we might
echo, as it were, Marshall McLuhan, and observe that “the institution is the message.”
Michael Butterworth Complete Poems 1965-2020
Mr. Butterworth reads "The buildings are very low round here" (with music by Field Collapse)
The collection releases February 3, 2023
Note from publisher Space Cowboy Books
For more than fifty years Michael Butterworth, better known for his work as a writer, editor and publisher, has also been a quiet inobtrusive voice in poetry, with roots lying both in the small press poetry journals of the sixties and seventies and in New Wave of Science Fiction. His work is distinguished as much for the restless intelligence, wit and intimacy of his voice as a determination, shown in many of these poems, to paint metaphorical pictures of the perils we face due to our poor regard for the fragile biosphere in which we live. In other poems, he finds, within the events of an ordinary life, scope for the transcendent, and in still others his use of nonsense and absurdity playfully captures the moment, puncturing the illusions of the self. Across his work, elements are reiterated but endlessly transfigured –
The effect is at once familiar and yet profound, in language that has the confessional qualities and simplicity of early influences such as Sylvia Plath and the Beats, and the later influence of Zen poets such as Ryōkan. Occasionally the writing is startlingly radical – a reminder of the poet’s beginnings in the New Wave.
"Michael Butterworth's poetry is rolling news from a since-outlawed territory of ideas; bulletins filed from a redacted country, edited out of cultural continuity. In beautifully clear language, human moments are examined as though artefacts dug from the future, or the debris of a missing world. Caught in a jeweller's eyepiece, fugitive impressions from near sixty years of subterranean endeavour here condense to lyric crystal, ringing with the poet's radical and laser-guided voice. This is a wonderful collection, mined from times that aren't supposed to happen. Lose yourself inside it."
- Alan Moore - author of Watchmen, From Hell and Jerusalem
"This is not only a lifetime's poetic work but overwhelming evidence of a poetic lifetime. Readers should enter carefully through the author's Preface, a classy, condensed autobiography in itself and the perfect warmup for the multi-faceted, often surprising poems that follow; ranging from sharp, haiku-like observations to densely layered dramatic episodes - and always written with wordmanship, wit and a constant intelligence."
- Jay Jeff Jones
Author Ebi Robert writes:
This is to register my sincere gratitude to Prof. Carter Kaplan and the entire membership of the board of editors of International Authors.
I feel this is necessary because Prof. Carter Kaplan and other members of IA have been very helpful and instrumental to the success of my debut novel, The Creed Of The Oracles.
The book was formally presented to the general public on the 11th day of December, 2022, at Yenagoa, Nigeria. And I must add that the outing was very successful. The launch was heavily graced by many lovers of literature. The hall was full, and the gospel of International Authors has already spread in my city of Yenagoa.
There was a panel session. K. Ceres Wright, Zadok Kwame Gyesi, Scott Thomas Outlar, and Dennis Casey IV were the virtual panellists who shared their thoughts on some issues raised with respect to the topic, "Worldbuilding in Phantasm and the African Writer's Literary Right to Create Foreign-like Scenes."
I will make available the video recording soonest after compressing it, perhaps. Attached to this post are some of the photos from the launch. The IA logo was also included in the banner and the video.
I want to particularly mention Mike Chivers. Mike had bought a copy of the book. He was also willing to join the virtual session. Unfortunately, there was an issue. I apologise for that. I apologise to all those who couldn't join because of the issue encountered. I hope the virtual recording will help a great deal when uploaded.
Bienvenido Bones Bañez Jr. is a brother. He did a beautiful illustration and has also promoted the work in many ways. I appreciate that.
Bill Ectric King is a handsome fellow. He was the first to get a copy of the book. He also took a copy of the book and helped promote it. I am grateful, sir.
Michael Butterworth was one of the first writers to express interest in the book. He left me an endorsement that was instrumental. Thanks sir. You are recognised.
Oz Hardwick got a recommendation of it and has been very friendly ever since. You are loved, sir.
Tessa B. Dick has been a mother. She had helped in editing my second play, and that was useful. You are a darling.
Carter Kaplan? What can I say? He is my friend, father, editor, senior adviser, and many more. Without him, this book wouldn't have come together smoothly, with the exception of God.
The list is long. Everyone in IA, I love you all.
Here are some lines from a conversation
between Michael Butterworth and Ebi Robert about Mr. Robert’s new novel, The
Creed of the Oracles.
Michael Butterworth writes:
I finished reading your book just after your email arrived, and I'm impressed. You have created a convincing world/mythology. The names of things and people -- always difficult to get right -- are really very believable, like in a Moorcock, Leiber or Edgar Rice Burroughs novel. The narrative carried me along: I wanted to know what happened next, at least. It will be interesting to see how you take the story in your promised sequel. There were many small details, also, which also appealed. I will mention just one: the horse Bester. A reference to Alfred Bester, the writer? Anyway, it is a good name for a horse! A pity Bester is an old horse, as he and Erecious, the latter brought out of retirement, should definitely ride again. I'm anticipating your two dwarf characters will be the sidekicks. They should be.
A surprise was the strong swords and sorcery element, which dawned only gradually. The Bones Banez illustration was a big clue, though at first I didn't see the connection.
Is heroic fantasy a popular genre in Nigeria, or SF/fantasy generally?
Ebi Robert responds:
No. It's not a popular genre in Nigeria. Only a few writers in Nigeria are looking towards that direction.
Generally, fantasy as a genre is not completely new to Nigerian writers. We've had some writers do some work in speculative fiction. However, I can say that we can be easily counted or numbered. Heroic fantasy or high fantasy is not popular in Nigeria. To a very large extent, some writers have seen fantasy as a western brand. Some others believe that we've got so many stories over here that are still untapped, so why write about something that is not there in the first place?
Many Nigerian writers busy themselves with talking and writing about contemporary issues that they feel affect them. Corruption, bad governance, politics, democracy, slavery, colonialism, and many more are some of the issues before us. Recently, issues like climate change, domestic violence, and oil theft are beginning to take centre stage.
I believe writers hardly consider fantasising because they have so much to write about and talking about them will expose those themes or subject matters to the outside world. Put another way, there are so many vices facing our society that must be spoken about. So seeing a writer engage in world-building in this part of the world is rare, very rare, I must say.
But I'm bold to say that it's somewhat of an emerging genre. Heroic or high fantasy is not just any genre that anyone can write overnight. It takes a whole lot of creativity and hard work to achieve just one. In addition to the above, this aspect is a contributory factor.
But there have been some attempts in other areas of speculative fiction, such as science fiction, and maybe, relatively speaking, what I can classify as low fantasy, if there is any sub-genre like that. What I mean is that such imaginative work is not really an out-of-this-world thing. A few such works are mostly centred on Planet Earth, with settings in known places but with characters having some supernatural abilities.
A renowned Nigerian professor in the field of literature once described my works as experimental, and I think I agree with his opinion. I have always looked forward to doing something rarely done, something rarely considered—writing something original. It is this desire to tell my story in what I considered to be an unconventional way that led to me adopting this approach. The Creed of the Oracles is not just a fantasy; it doubles as an allegory.
I should add that it is the experimental aspect that originally attracted me to the novel. The language and the culture of legal scholarship that Mr. Robert has invented represents a fusion of culture, law (Mr. Robert is an attorney in Nigeria), and the procedures of a strange Medieval guild—all cleverly imagined.
Please click HERE to view the Amazon sales page for The Creed of the Oracles.
A picture just came across my desk of International Authors editorial board members Vitasta Raina and Horace Jeffery Hodges. Ms. Raina is in Seoul for meetings, and she took the opportunity to visit Professor Hodges and his family.
Vitasta Raina is the author of the novella Writer's Block, and Horace Jeffery Hodges is the author of a collection of poems, Radiant Snow--both published by International Authors. Please note that Ms. Raina designed the cover of Prof. Hodges' collection.
Click the titles to view the Amazon sales pages.
Erecious is a freeman of HEH, one of the countries in the Veriverse. Though an Oracle, he is eager to help freemen from the sinister actions of the vil-beings and the corrupted Oracles of HEH. To protect the freemen, Erecious takes up the challenge to fulfil the test to become a demi-god. But little does he know that he has an identity unknown to him—an identity known to the gods. He now must fight these same gods. Can Erecious, son of Gar, win this battle against the six forces of the Veriverse?Please click HERE (or click the cover image) to visit the Amazon sales page.
Ebi Robert is a Barrister and Solicitor of the Supreme Court of Nigeria
in the City of Yenagoa, in Bayelsa State. He practices law at F.B.A.
Nabena & Co. and also serves as a Probono Lecturer at the Faculty of
Law, Niger Delta University, where he assists in teaching Cybercrime
Law and International Law. He has published extensively in the field of
Law. His poems have been published around the world in anthologies,
journals and ezines. He has published two plays: An Empty Kingdom and Zige. The Creed of the Oracles is his first novel. Website: www.ebirobert.com
Note: The book features an illustration by painter Bienvenido Bones Banez, Jr. Please click HERE for more information about Mr. Banez.
My good friend and International Authors colleague, Horace Jeffery Hodges recently launched a global appeal to fill the libraries of the world with copies of Emanations, International Authors' somewhat-annual anthology of poetry, fiction, art and essays.
Please click HERE to learn further details of Professor Hodges' initiative.
|Professor Hodges in the field.|
Emanations vols. I-IX are now part of the Special Collections archive at the Kent State University Library.